<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><dc:identifier>doi:10.7916/8ccm-0m91</dc:identifier><dc:title>Oral history interview with Dorothy Lichtenstein, 2015</dc:title><dc:creator>Lichtenstein, Dorothy</dc:creator><dc:format>oral histories</dc:format><dc:type>mixed material</dc:type><dc:subject>Abstract expressionism--United States</dc:subject><dc:subject>Pop art--United States</dc:subject><dc:subject>Art, Modern--20th century--United States</dc:subject><dc:subject>Captiva Island (Fla.)</dc:subject><dc:subject>Lichtenstein, Dorothy</dc:subject><dc:subject>Rauschenberg, Robert, 1925-2008</dc:subject><dc:subject>Lichtenstein, Roy, 1923-1997</dc:subject><dc:subject>Roy Lichtenstein Foundation</dc:subject><dc:subject>Robert Rauschenberg Foundation</dc:subject><dc:subject>Trisha Brown Company</dc:subject><dc:subject>Massachusetts Museum of Contemporary Art</dc:subject><dc:subject>Parrish Art Museum</dc:subject><dc:subject>Rauschenberg Overseas Culture Interchange</dc:subject><dc:description>Dorothy Lichtenstein, wife of the late artist Roy Lichtenstein, describes the 1960s in New York, meeting her husband and Rauschenberg as young, critically acclaimed artists in a time of international interest. She talks about their different artistic temperaments and styles, and the friendship between artistic peers who never actually collaborated. She recounts the mass exodus of artists from New York and describes her family's own decision to acquire property in Captiva in 1980. She talks about the transition into a position on the Rauschenberg board of directors and eventually traveling with Rauschenberg Overseas Culture Interchange (ROCI). She also describes Change Inc. and the beginnings of Rauschenberg’s philanthropic works. Lichtenstein analyzes the impact of the artists of the 50s and 60s New York School and compares it to the contemporary art world and the emergent trend of art as an investment and artist as legitimate profession. She also describes the role of artists' foundations and the role of the Rauschenberg Residency for contemporary artists</dc:description></oai_dc:dc>